IN STOCK
2LP - VAMPISOUL
2014

First-ever compilation of the recordings of Son Palenque, the finest expression of the musical union between Africa and Colombia which took place in Colombia's Caribbean coast during the 70s and 80s.
Son Palenque took the rich variety of African styles played at the popular sound systems and merged them into the region's traditions, giving shape to entrancing songs which featured wonderful vocals.

TRACKLIST
A1 Cumbia Africana
A2 Unye Unye
A3 Tungalala
A4 Chande
A5 Dame Un Trago
B1 Palengue Palengue
B2 Caofao Apele
B3 Atina Tina
B4 El Tigre
B5 Azuca Y Limon
C1 Arriba Arriba
C2 Adios Batata
C3 Pa Bete
C4 Achinagua
C5 La Arepa Asa
D1 Tilitata
D2 Alocusa
D3 El Mojan
D4 Itan Pamajate
D5 La Zorrononona

DESCRIPTION
SON PALENQUE -
Masters of palenquera innovation
In the history of Afro-Colombian culture, Son Palenque is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the 70s and 80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence.
The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music.
Later they all migrated to the city and bit by bit made a place for themselves. The story of this record starts on a night just like any other, at a picó, a musical block party, of the Pablo VI neighborhood, in the city of Cartagena. It was the peak of Afro-Coastal psychedelic music, of African music and of an endless number of musical fusions. Excited by the gigantic party they had been at until dawn, rocked by the deafening noise of the speakers and the records played at the picó, a few friends went to the beaches of Marbella and improvised a musical rumba; one of them grabbed a beer
can, the other one a stick, Justo Valdez sang his beautiful melodies and the magic of palenquera music grew mystically in front of the waters of the endless sea. "That's where Son Palenque was born," recalls Justo with excitement and nostalgia. Enrique Tejedor and Luciano Torres as the back-up singers, his brother Tomás Valdez in the tambor alegre (a Colombian drum), Pánfilo Valdez as the second lead vocalist...
Little by little the group started to consolidate itself. The first chance came in 1980, when they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with Estefanía Caicedo. Later on the band signed with the label Felito Records, in Barranquilla, which during the 80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs "Ane Jue" and "African Erotic" for Félix Brutón, the owner of the label, with sound engineering from Eduardo Dávila and the participation of great musicians like Michi Sarmiento on saxophone, Abelardo Carbonó on guitar, and his brother Abe on bass, among others. These two LPs were a milestone in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone on extraordinary records.
Later on the group recorded three LPs for the CBS music label: "Larepa' Sa", "Los trotamundos del sabor" and "Kaine Sound Band", with the production of Willie Salcedo and the sound engineering of Alfonso Abril. These albums were recorded in the Unisón studios in Barranquilla. In the mid-90s, the musical scene underwent significant changes. The LP industry started to decline, new technologies for digital recording appeared, sequencers and effects, that forever changed the future of music. Son Palenque lost its recording contract, and Justo Valdez started recording songs as a solo artist for the nascent industry of champeta criolla.
In 1999 Son Palenque recorded for the label Palenque Records the song 'Kumina', a long with guitarist Sekou Diabate "The Gold Fingers", legendary leader of the band Bebeya Jazz (Guinea-Conakry). Subsequently they recorded for the same label, under the production of Lucas Silva, the record "Ma Kamajan Ri Musika Ri Palengue", released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation, and still has a bright future ahead of it. The band has gone through various phases throughout time and they always come back innovating and breaking the mold, with the depth of their roots, their legacy and mastery in the composition of songs, masters in the conception of a unique musical universe.
compilation by Lucas Silva

IN STOCK
2LP - JELLOWSTONE
2014 => 2024

IN STOCK
LIMITED TO 1000 COPIES
BLACC TATTOO INK-IN-CLEAR COLORED VINYL
GATEFOLD JACKET
NUMBERED OBI
2LP - GET ON DOWN
2014 => 2024

IN STOCK
2LP - TUFF KONG RECORDS
2014 => 2022

IN STOCK
COLOR = NEON GREEN AND NEON CORAL VINYL DISCS
2LP - COALMINE RECORDS
2014 => 2023

SOLD OUT
COLOR = WHITE VINYL
1LP - GET ON DOWN
2006 => 2014

BIS => 2025 12 05
LIMITED TO 500 UNITS
COLOR HELLFIRE
2LP - WAR MEDIA
2014 => 2024

BIS => 2025 10 03
2LP - INTERNAL AFFAIRS / FIRST GENER
2014 => 2024

BIS => 2025 12 12
1LP - GET ON DOWN
1972 => 2014

BIS => 2025 07 04
2LP - NATURE SOUNDS
2014 => 2024

BIS => 2 / 3 WEEKS
7 INCH - UBIQUITY RECORDS
2014 => 2023

BIS => 2025 10 24
2LP - CINEMATIC MUSIC GROUP
2014

BIS => 2 / 3 WEEKS
7 INCH - OUTTA SIGHT NORTHERN
2014

BIS => 2 / 3 WEEKS
7 INCH - OUTTA SIGHT NORTHERN
2014

SOLD OUT
2LP - METAL FACE RECORDS
2004 => 2014

BIS => 2024 02 02
1LP - MR BONGO
1974 => 2014

BIS => 2023 12 01
1LP - ANALOG AFRICA
2014

BIS => 2 / 3 WEEKS
7 INCH - OUTTA SIGH
1975 => 2014

BIS => 2 / 3 WEEKS
2LP - BGP
2014

SOLD OUT
1LP - SOUNDWAY RECORDS
2014

SOLD OUT
1LP - MR BONGO
2014

SOLD OUT
1LP - MR BONGO
1977 => 2014

BIS => 2 / 3 WEEKS
7 INCH - EXPANSION
2014

BIS => 2 / 3 WEEKS
7 INCH - OUTTA SIGHT
2014

BIS => 2 / 3 WEEKS
2LP - LIGHT IN THE ATTIC
2014

SOLD OUT
1LP - ACE RECORDS
2014

SOLD OUT
1LP - STONES THROW
2014

SOLD OUT
RSD 2023
2LP - UBIQUITY RECORDS
COLOR = TRANSLUCENT TAN WITH BROWN SPLATTER
2014 => 2023

BIS => 2025 12 12
2LP - NOW-AGAIN
2014

TRACKLIST
A1 Introduction
A2 Push Na Ya
A3 El Gusto
A4 Transition >S<
A5 Karadeniz
A6 The Spirit Of Gine
B1 Transition >T<
B2 Girma's Lament
B3 Sharpville Massacre
B4 Samai Thaqil
C1 Jo Nibunga
C2 Omebele (Makossa)
C3 M'Hammad
C4 Transition >A<
C5 Who's Foolin' Who?
C6 Transition >C<
D1 Hymnin S
D2 Bring It On Down
D3 Mission Control
D4 Kaifa Part 1+2

DESCRIPTION
Karl Hector aka the German producer and guitarist JJ Whitefield, Whitefield is the visionary behind the Poets of Rhythm and the Whitefield Brothers, the ensembles whose rough analog sound and return to the funk archetypes of the late 60s to early 70s paved the way for labels like Daptone, Truth & Soul, Timmion. Whitefield, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Their debut, Sahara Swing, saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks from Ghana's Ebo Taylor to the progenitors of Zambia's Zamrock scene brought Hector and crew across Europe playing festivals for ecstatic fans. A grueling tour schedule made recording a follow up album to Sahara Swing quite the challenge, and as a result, the band opted to release limited edition, hand-silkscreened EP's, which continued to show their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk. Whitefield gave himself 2013 to finish the album that would become Unstraight Ahead, which will see release on Now-Again this summer. Unstraight Ahead finds the band exploring territories even outside of the expansive scope of Sahara Swing. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke's Ethiopian jazz and are tied together with the groove heavy experimentalism of The Malcouns' 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow's Gift. We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing, Whitefield states. We're trying to combine the global experimentalism of Krautrock with the backbeat of funk. This explains how songs in uneven meters 5/4, 7/8 always sound so accessible and natural on Unstraight Ahead. It's mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly Krautrock forebears of their German fatherland: it's Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album. It's an album out of time, one that couldn't have been made in the era its aural aesthetics reference, as its scope is so broad. But it's an album focused by funk and an ambition to expand funk's reaches. The Malcouns including Poets of Rhythm songwriter and vocalist Bo Baral - created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges Unstraight Ahead into a curious musical future.

SOLD OUT
1LP - SOUNDWAY
2014

BIS => 2024 05 24
7 INCH - GROOVIE RECORDS
1968 => 2014

BIS => 2024 05 24
RED 7" LTD. 100 COPIES
7 INCH - GROOVIE RECORDS
1968 => 2014

PRE ORDER => 2025 11 21
1LP - DEF JAM RECORDINGS
1994 => 2014

Tical 20th Anniversary
Def Jam 30th Anniversary with Special Holographic Cover

TRACKLIST
A1 Tical
A2 Biscuits
A3 Bring The Pain
A4 All I Need
A5 What The Blood Clot
A6 Meth Vs. Chef
A7 Sub Crazy
B1 Release Yo' Delf
B2 P.L.O. Style
B3 I Get My Thang In Action
B4 Mr. Sandman
B5 Stimulation
B6 Method Man (Remix)

DESCRIPTION
Tical calls back to an oft-romanticized period when rockin’ the mic was more than enough, with no filler in sight.